11.04: Panorama
Mars Lasar
2003/Sound Manipulations
56:38

Mars Lasar is very thematic and dramatic in his approach to his craft. Webster defines panorama as "an unobstructed or complete view of an area in every direction." Without a doubt, this would accurately describe the wanderlust of this creative artist and, most specifically, the musical themes presented here. Unfortunately, on the latter, it reflects both the strengths and the weaknesses of Panorama.
              
This is the fourth album in the "11th Hour" series that saw its debut back in 1993. The freshman effort of the series has been Lasar's most successful album to date. This was largely due to the highly dynamic and upbeat composition "Cellular City" that received much radio exposure. Nevertheless, that album bristled with offbeat ideas and concepts that were pieced together to create an unusual yet cohesive project. Unfortunately, this was the pinnacle of the series, which has only seen diminishing returns. The follow-up, 11:02, had glimpses of its predecessor; and, apparently, we blinked and utterly missed the third one.

This review should be taken within the context that more established melodies and continuity is a preferred taste. Lasar shows greater song structure on his impressive debut Olympus, Sapphire Dreams and Christmas From Mars. Overall, this artist loves abstract and conceptual musical exploration. 11th Hour and Karma were the most successful in bridging both arenas of musical styles.

Those of you that enjoyed 11:02 will be pleased with Panorama, which has very enjoyable moments. Though the album starts off slowly, the project really begins to stir by track 5 which features Hurricane's rock singer Kelly Hansen on the track entitled "Incarnation." This includes some effortless but tender vocal sampling. It is followed up with "Rapture" featuring some fine operatic vocal arrangements from Erin Williams who also assists with the composition. Thus, the album continues on its significantly upward swing.

This mood continues with the temperamental yet optimistic "Going Home" that beams a warm and almost organic feeling to it. However, the most ecstatic moment is "Follow Your Groove" which has an almost Earth Wind & Fire groove to it. While the keyboards generate a manufactured horn effect, the real thing would have been preferred. Along with the vocal scatting, this song is unmistakably the defining moment of the album. It is closely followed by the beautiful and graceful ballad "Untouchable" closing out the album on a pliable and insightful moment.

CD available at:
amazon.com
geminisunrecords.com
marslasar.com

At The End Of The Day
Mars Lasar
2007/Sound Manipulations
42:26

Mars Lasar has always been an artist who is on the cutting edge. With that attribute comes an artist that refuses to stereotype himself and who has explored themes such as evocative nature recordings, electronic chill out, ambient to straight up reflective lullabies. A brilliant artist, his listening public can always expect the unexpected. This time around Lasar explores smooth jazz with the unique touch one has come to expect from Mars, emphasizing mood over melody.

Upon the opening bar of the album, you immediately realize that you are in for unique blend of mainstream smooth jazz with a twist of Lasar drum loops and sound manipulation that he is famous for. Most of the album focuses on the sensual smoky jazz feeling with significant assistance coming from the in demand session player Greg Vail on saxophones and flute. The album also includes one vocal track, “Sometimes” that features the chanting of Cadence. But without a doubt the highlight of the album is “Sweet Summer Haze” which presents the albums most distinct and obvious melody. Though smoldering in the smooth jazz genre, the song is smothered in a Lasar melody and it is probably the most commercial effort on the album with “Once Upon A Star” coming a close second.                                 

CD available at:
amazon.com
geminisunrecords.com
marslasar.com

The master of sound manipulation has returned again to provide us with another all out Christmas affair. Much like his highly successful Christmas From Mars, released back in the year 2000, Lasar breathes life into the holiday songs that we have heard over and over again creating nuances that make the Christmas carols fresh and vibrant. This time around it is an all vocal affair with the addition of the dreamy vocals of new coming Cadence. The combination of these two artists makes for a magical merger. 

It goes without saying that the production is detailed and crystal clear with all the bells, whistles and chimes (literally) associated with such a festive affair. Adding the wistful and ethereal vocals of Cadence further compliments the arrangements of Lasar. The album focuses on Christmas past by reviving seven traditional carols merged with three original compositions. Of the traditional arrangements “Angels” “Immanuel” and “All Is Bright” are where the vocals of Cadence are most defined and inspiring. Multi layered and angelic, comparisons with Enya will be unavoidable though her presentation comes with sense of even greater wholesomeness and purity keeping the vocals focused.

As previously mentioned there are three original compositions in the form of the title track, “William’s Hallelujah” and “My Prayer”. The first two tracks are self penned by Cadence while the latter is credited to both Lasar and Cadence. Of the three, “William’s Hallelujah” is probably the most stirring and spiritually uplifting and in and of itself is worth the price of admission. Though “My Prayer” is a close second reminiscent of music from the soundtrack of the Titanic.

With the exception of some vocal assistance from Michael Angelo Caldwell and Philip Spalding on “Holy Night” and “My Prayer” respectively, this album focuses on the talents of both Lasar and Cadence. Cadence is even co-credited with the production and arrangements. With a new recording scheduled from her in 2008 there is no doubt that a star has been born. This makes this Christmas affair a double success allowing us to relive our seasonal memories in a fresh and innovative way one expects from Mars Lasar through the voice of this gifted newcomer Cadence.

CD available at:
amazon.com
cadencesongs.com
geminisunrecords.com
marslasar.com

With recordings as far back as 1992’s sensational debut Olympia, this explorative artist has presented his audience with a diversified musical portfolio. This includes the critically acclaimed electronic Eleventh Hour series along with the hauntingly beautiful lullabies of the reflective Sapphire Dreams just to name a few. However, this time around Lasar revisits the National Park theme and pays tribute to the majestic and mystical Yosemite. Musically it lives up to the integrate details and mammoth proportions of the park it is paying its respect to.

Lasar’s prior tribute to one of America’s national treasures was back in 1996 when he released The Music of Olympic National Park. Though enjoyable, the musical landscape that he created was accompanied by nature’s soundscaping to the point that it was distracting. Musically, the shades and tones were darker with a more ambient feel to it. Yosemite includes these previously mentioned methods; however, Lasar is more restraint and also places greater emphasis on the melody.

The album begins with the melodic “Mirror Lake” that flows effortlessly into “El Capitan” which is essentially the second movement of its predecessor. Initiated with gorgeous string arrangements, the song is then driven by the intricate yet smooth percussion arrangement. The latter is revisited on “Tioga Road” countered by what sounds like bamboo flutes. Even better, there is a beautiful tempo and rhythm of the strings and percussion that illustrates the flow and pulse of the “Merced River”. It is almost impossible not to sway with the music as it curves and bends gently while it trails and fades to its conclusion. Simply put, this is Mars Lasar at his best.

Yosemite also has its reflective moments best heard courtesy of the opening chords of “Glacier Point”. While the composition is embellished a little as the song progresses, its theme is certainly more in the lullaby frame. This theme is repeated by the more organic “Wilderness Trail” that also features the warmth of the acoustic guitar. Frankly, there is very little to found fault with about this magnificent tribute. Lasar does well to incorporate a few tracks that are more detached and spatial such as the Vangelis influenced “Sentinel Meadows”. However, Lasar is wise to close out the album with the more regal and dramatic concluder “Valley Of The Giants” that also features the soft chanting of Jennifer Spalding.

CD available at:
amazon.com
geminisunrecords.com
marslasar.com

Once again it is that time of the year when we celebrate love, peace and joy of the season whether it be for spiritual reflections or a time of reunions with family, friends and loved ones. Though released a few years ago there is no better time like the present to revisit Mars Lasar’s and his warm yet unique slant on traditional Christmas carols. But as always do not to expect the norm from this musical explorer.

Mars Lasar’s commercial recording career began in back in 1992 with the release of his debut Olympus. His freshman offering was geared more towards the mainstream New Age genre, paralleling more with the early years of Yanni’s musical styling. The emphasis was on the melody and intricate crossover rhythms. Never one to stand still musically, Lasar, courtesy of Eleventh Hour leaned towards the abstract and electronic manipulations yet still kept matters interesting. The mistake would be to pigeonhole the musician who followed up this effort with the sublime and gorgeous Sapphire Dreams that evoked lullabies and soft dreams. This theme apparently was evanescent as 2001 saw Lasar return to his patented soundscaping and effects with solid results courtesy of the album Karma.

Despite expecting the unexpected from this artist, the results here are a most pleasant surprise. While Mars Lasar’s theme is revisiting the traditional Christmas songs and carols, they come with his distinctive tilt on things. The arrangements are so unique that at times they sound like original compositions. The most obvious example comes courtesy of “All Ye Faithful” that is almost thunderous in its approach when viewed in the context that it was developed from the hymn “O Come All Ye Faithful”. The song is inspiring largely due to the crescendo of percussion work combining with the surging keyboard arrangements. There is also the rolling, strolling “Ye Merry Gentleman” which is a little more subdued when compared with his arrangement of the same carol that he collaborated on with guitar extraordinaire John Sykes a few years ago. Yet still this arrangement is exemplary.

We are even entertained with some very fine guitar work on the “Christmas Tree”. Countered with restrained but evocative vocal effects within the bridge, this song is a delight. There is a little additional guitar work available on “Bethlehem”, which is equally poignant. However, it is Lasar’s keyboards and sound effects that remain as the spotlight. There is not a filler track in sight and Lasar does a wonderful job in giving these time-honored carols an elegant makeover without losing their original spirit.

“Christmas From Mars” is well grounded yet still out of this world which is probably an accurate description of the music of Mars Lasar in general. While Lasar may wander musical, his production is always precise, provocative, elaborate and detailed. Lasar has become so complete in this area that if he were denied his compositional gifts he could easily take on the full time livelihood of a producer. Fortunately we have not had to endure such a loss and are rewarded by this masterful project that will no doubt endure as a Christmas favorite.

CD available at:
marslasar.com